OCTOBER 2025

Wednesday 1.10.25

Receive an e mail entitled ‘Museums’ from the Somerset Heritage Centre who say they would like to have the collection of soft toys that I designed and had screen printed early in my career, the only time I had a proper job

Also hear from Paul James who says I have given him enough information and he will send me a draft of what he has written before it goes to publication.

Later in the afternoon receive e mail from Florence at the Portland saying that they are already planning their stand for Art London 26 and would like to give me the right hand hand wall again

Thursday 2.10.25

Today is Henrietta’s actual birthday so in the early hours we send a colourful e mail to greet her. Later in the day she ‘phones on her way home from Goldsmiths to say ‘thank you’ for her birthday card which had also arrived today. She sounds happy which is good. Later still we get a Facetime call from Kev who is about to light the candles on her cake; we also see Samuel so I able to congratulate him again for doing so well in his Maths and getting an A in each of his three Economics papers. He looks very handsome in the light of the candles of Henrietta’s cake and is about to go off to play football with his team who won their match on Sunday. Interestingly his first girlfriend shares the same birthday as Henrietta which seems to be a rather lovely coincidence. She’s in the same year in the sixth form at school and also doing Maths although her other subjects are I think French and Psychology.

I have been working on a few miniatures towards my Christmas charity open studio as well as the small painting for the Friends of The Wilson to auction…

Friday 3.10.25

..I’m also repairing the painting that came back from San Francisco.

The weather is very stormy today though I think it may be worse tomorrow as Storm Amy moves across the country. She caused winds of 102mph on Tiree, which is a wonderfully flat island so even in the summer there is always a strong sea breeze blowing across her with very few trees or windbreaks although it does have the most beautiful white sandy beaches as well as rocky coves. I remember our time there when we took my dear Mum as a celebration for her ninetieth birthday and Isaac who was only  about six collected eggs from the chickens who lived outside their croft which was just across the field from our croft. My Dad was stationed there in the RAF where he used to fly out with his crew over the Atlantic Ocean to observe the conditions for the weather forecast.

Saturday 4.10.25

working on the Resurrection commisssion

Sunday 5.10.25

The sun is shining as we drive up to the Racecourse. We’re surprised to see just how many children and families are making their way up to the Lions’ enclosure. We meet Ian and Maeve as planned and get such a lovely warm greeting from Carrie and her team who are so good at explaining how it all works, particularly to Ian and Maeve who have a lot of experience of these trails. Then Karen comes to greet us too - I give her a hug as she had recently lost her Dad and is looking after her Mum. She’s brilliant at greeting Ian and Maeve too and when she learns that they are concerned about parking at the Cathedral due to their walking problems, she says she will have a word with her friend the Dean. The Cathedral have sponsored one of the Lions, called Cloister The Lion. Karen says the Dean asked her to be on their development board.  Ian and Maeve are suitably impressed by how successful the Cheltenham & Gloucester Hospital charity s being - they have already raised about £130,000 and there is still the auction to go. Here today in the sunshie the event is packed with children and their families and Ian comments on what a brilliant idea it was to include schools in it too. There are stunning small Lions - either side of mine in the safety of the cafe a brilliant coin covered lion who is apparantly very heavy, his body covered in copper coloured 2p and his mane in silver 10p, it is a really successful idea. But on the other side of mine is a most brilliant Lion who is wearing a completely knitted and crotched coat and mane. His mane is thick with multicoloured strands of wood. He’s really fabulous with a kntted crown on his head and a big chain of office round his neck, banners with tassels hanging over his back and daffodils long his spine.

We go into the cafe where Carrie has bought us tea and stand drinking it in front of the table with the three smaller lions to be auctioned on Thursday and then make our way outside after Carrie and the main organiser have a chat with Ian and Maeve and look at the fantastic range of small lions created by mainly schools but also girls and boys  football clubs, dance schools, playgroups, cubs etc. We stop to talk to two ladies who are proudly looking at one with little handprints on, created by children and staff of Little Oaks Nursery, the children like to pretend to roar like a lion  which is why theirs is called Roary. Then we spot River the beautiful lion created by the Alderman Knight School; it is brilliant as it has a river  severn and Avon lapping over the paws being  above which the historic buildings of Tewkesbury then a large oak tree growing up and across the sky with the main becoming the sun.  A little further up we come across Onesie, the lion I sponsored for theNational Star College students who have covered theirs by creating individual pieces  based on colour shape and pattern that were cut into heart shapes; they then decoupaged the hearts onto the lion’s body. They thought the lion  looked as if he was wearing a onesie hence the name. They are all absolutely brilliant.

We then move onto the large lions which are again fabulous. There’s a brilliant Tailor of Gloucester, another superb piece painted like a comicstrip with a large GRRRR! Then I come across Curatio created by Arabella Kiszley, Plum Neasmith, Nicky Hare and Jane Clatworthy. Arabella owns the Little Buckland Gallery and this beautiful piece is made up of words, taken from talking to cancer patients both current and recovered and shows what an individual and disparate reaction many of the words produce.

Ian and Maeve say how much they have enjoyed the afternoon and we are all looking forward to Thursday evening’s auction at the Cathedral.

Monday 6.10.25

We sort the soft toys that I designed at the very beginning of my career and pack them into a big box for Royal Mail to collect tomorrow. They are going to the Somerset Museums Service for their collection (as I designed them in Weston super Mare).

Still trying to finish the small painting for the Friends of The Wilson to auction on their fund raising evening in November.

Tuesday 7.10.25

Royal Mail collects the box of soft toys. I decide I want to do a little more to the painting for The Friends, making the colour slightly more intense. Also paint a new miniature on one of John’s shaped frames - a gingerbread house. Richard read me the original (1812) Hansel and Gretel story as Johns frame rather suggested that to my imagination but I wanted to make sure I was remembering the story accurately. Like a lot of the brothers Grimm stories and perhaps fairy story telling in general, it is quite harsh.

Wednesday 8.10.25

Today we hear from Bethan, the curator at Somerset Museums Service to say the box of soft toys has arrived.

Send photograph of the small painting The Friends to the Friends.

Each day I’ve been working on Petite Nue that came back from San Francisco, giving the corners coats of medium. But then I start on a couple of the strange rather intriguingly shaped little frames John has made me for the miniatures. It would be tempting to paint the first idea I think of that would fit but sometimes I like to make it perhaps even more difficult by thinking of what would come less easily to me, requiring even more thought.

Thursday 9.10.25

Manage to do a bit of work in the studio on the miniatures before we go off to Gloucester Cathedral for the Lions at Large auction. There is already quite a buzz at the back of the Cathedral where drinks and canapes are being served. Karen introduces us to the Dean and his partner. Andrew, the Dean seems to be a very affable man and had wholeheartedly embraced this project - the Cathedral even sponsored one of the Lions; the artist who painted it was inspired by and created patterns from the roof and the cloisters. Of course the cloisters’ fan vaulting here in Gloucester was the first in the world. His partner seems to know our friend and collector Ben and has seen a painting I did for him. He tells me that he spends his time helping Andrew, supporting his congregation etc which has grown by seven hundred during the three years that Andrew has been Dean.

I buy some of the raffle tickets then Richard points out to me that Arabella and one of the three artists who helped her paint Curatio are here. She’s wonderful as she also sponsored Curatio. They covered him in words used by cancer patients past and present so it is a very meaningful piece as she like Richard has been treated for cancer.  She is very nervous and concerned at the responsibility of whether it sells or not a feeling I know all too well. Though interestingly Richard has heard that I had bidders on the internet including one from Australia. Karen comes along and reassures her that there will be bidding on Curatio but I know and understand that apprehension she feels. We then see Ian who has also heard that there is interest in Leon from Australia and other places. People all seem to be having a very nice time, the lions look splendid lined up in the aisles either side of the nave. I think a lot of sponsors are here too.

We make our way to our seats near the front next to Ian and Maeve, There are certainly lots of people here and an air of excitement. The Dean welcomes us with a prayer then Steve Nibbs from BBC Gloucestershire comes on as master of ceremonies full of witty advice on how the audience should bid. Beforehand we’d been shown a film about Sam Morris an artist from Twinning who on the day she heard she had been commissioned to paint her Kintsugi Lion also received the news that she had been diagnosed with cancer which obviously shook her up but she decided that working on the Kinsugi lion would be a therapy for her as she was about to undergo a masectomy. Her lion is based on the Japanese art of repairing broken ceramic with a glue infused with gold powder so the break is not hidden but honoured. Inspired by the artists’ personal journey this lion transforms  its scars into strengths. Each line of gold is a quiet testament to resiliance healing and the beauty of becoming whole again. The introductory film was a very good way of introducing the lion and the cause that they have been created for.

The auction opens with the very realistic lion who had a 3D layer in which fur and main have covered the whole body in texture and a fine set of whiskers. I wonder if he’s going to be the star of the evenng though they are all exciting in their own way. Then the Tyger also sells very quickly but now I’m nervous as Leon is next and he is only half the size of all the other lions as he was taken round the schools and sponsors in advace to get them to sign up for sponsoring and painting a lion. It had been quite moving on Sunday to see just how many schools, football teams, dance groups, cubs and scouts, fifty four in total, three of which created by artists, are here tonight. But I’m heartened when the auctioneer says there has been more internet interest in Leon than ay of the others and Ian had anticipated that it might be a very exciting evening. It seems to all happen very quickly, the auctioneer doesn’t have to use a lot of banter and I cant aways tell when he’s taking bids from the internet or the floor. It is up to about five or six thousand when Ian calls out eight, perhaps trying to knock some of the lower bidders out and to show his intention. Now the bidding becomes very rapid - there seem to bidders or a bidder at the back, it goes up over ten and I’m feeling very pleased then eleven, twelve, suddenly it’s fifteen, eighteen then twenty and I think this must be it. But no it continues on. There is someone bidding quite decisively from the back and suddenly Ian is on twenty eight thousand, another bid from the back for twenty nine. He looks at Maeve and once again she nods her head and suddenly he’s won it at thirty thousand pounds to a large round of applause. I’m totally overwhelmed by Ian and Maeve’s generosity and feel quite emotional not knowing whether to laugh or cry, it’s just so touching. As I pint out to them they could have had six large lions for that but Maeve repeats that she knows just where he’s going. Two glasses of champagne are quietly given to Ian and Maeve as members of the team bring the documentation for them to sign.

The rest of the lions go really well. The auctioneer from Stroud Auctions is very witty and very encouraging, teasing people that if they scratch their noses he’ll take it as a bid

After the seventeenth, a small lion covered in coins, copper 2ps for the body and silver 10ps for the mane, there’s an interval. During the break Richard bumps into Dr Diane Savory who is chairing the appeal and he asks if it was her who was bidding for Leon and she says yes she was trying hard to buy him. She had mentioned at Bishop Rachel’s garden party that she was going to be bidding on him. I also meet one of the artists, who teaches on the illustration course at the University, Katie Forrester whose lion is called Queen Aethelflaed inspired by the Anglo Saxon Mercian warrior queen this design depicts her leading troops against the Vikings. Katie says she recognises me from when I present my award at the graduation ceremony. I’m so pleased that when Curatio comes up, painted by Plum Naismith, Niki Hare, Jane Clatworthy and Arabella Kiszley, there is a lot of interest and it goes for £10,000 which is brilliant and a lot of money towards the appeal. The second half is very moving as at lot twenty seven Sam Morris’s Kintsugi Lion the bidding stalls at £9,500 when a young man comes onto the stage and says that he is from the village of Twyning where Sam Morris lives and that they had all very much wanted to buy her lion for the village and even had a place for him but they had just about reached the total they had raised for it. There is suddenly a lot of excitement as the organiser jumps up and says he will add £1000 then asks the man who was about to win it if he would add £1000 and like this they manage to round the selling price up to £15,500 which seems to be a very moving and happy ending to that story and  it sounds like such a lovely community. Lot 33 The King is dressed in a Vagas jump suit and cape. It channels Elvis’s charisma and is a rock and roll tribute to the King. It’s very touching as it is bought by Karen, one of the main organisers (who had originally approached me) who has bought it in memory of her Dad who she lost very recently. Then it’s the brilliant Cederik the knitted and crocheted lion sponsored and created by Quedgely’s Knit and Natter group. He is fabulous and such a fine example of collaboration between a lot of lovely ladies who have all worked with such dedication to turn him into this truly beautiful beast. The last lot of the evening is Roarsome Cheltenham. So ends a fantastic evening where the amazing sum of £220,000 has been raised and I am so very touched that Ian and Maeve’s generosity made mine the highest price paid for such a deserving cause.

Friday 10.10.25

E mail from Robbie, course leader in the art academy at Gloucestershire College asking if he can bring a group of students for a studio visit. I write back asking if there is a day of the week that is particularly good for them. It’s always a joy to do things with GC art students and as I have the honour of being an honorary vice president it gives me pleasure to be able to contribute.

Saturday 11.10.25

working on Martin’s commission

Sunday 12.10.25

Richard drives to Blunham, Bedfordshire to collect two old windows from Gill’s beautiful old house, a glazed door, a door frame, old leaded glass panels and some long fence posts. So I go straight into the studio to start work on a new large canvas. I don’t stop until 6.15pm to have my breakfast allowing myself only fifteen minutes before returning to the studio. It is about 11pm when R gets back with his car full - a lovely lot of materials to recycle into his folly / greenhouse / shanty shack. Gill fed him well and he even had a sleep there  to recoup the energy for the journey back.

Monday 13.10.25

Richard’s very excited as an e mail from the Artists Collecting Society arrives and at the top they have used a section of my Venice painting Rhinocorous on the Bridge. The e mail is about fellowships they are doing with the British Council for people to apply to spend a month in Venice as ambassadors at the Biennale. Scrolling down further there’s an image of my painting Floating Menagerie which is also set in Venice.

Working on Martin’s commission today and also start another miniature as time is speeding by. Continue trying to paint the other members of his family in colour and smaller detail as when I’d painted in the main composition I wanted to work quite fluidly in a fairly monochromatic way so that I could build the composition before working into more precise scenario

Tuesday 14.10.25

Continue working on the Resurrection commission, altering some of the perspective and working into the costumes the figures are wearing.

I hear from Kat Hoerath that they have received the image I have made especially for the Friends of the Wilson to auction on their evening of drinks and nibbles etc at Cafe Nook.

E mail from John Childs who was director of Chenderit art college and puts together the exhibition programme for their Michael Heseltine Gallery.

Wednesday 15.10.25

Today’s a day of great excitement as Richard is fitting the new Ring alarm system, starting with the front door. He finds the system quite easy to navigate. Why?

we were burgled two weeks ago and they stole both of Richards electric bikes!

Thursday 16.10.25

Working into the family members on Martin’s commission and also need to do some research on the correct gown and hood for a masters in law (LLM) at Cambridge.

Friday 17.10.25

Although I had done some extra work painting round the edge of the Approximate Odds canvas and on the frame of the Grandstand, I still want to do some more work on the Grandstand before we deliver them on Monday. But it takes me rather longer that I envisaged so don’t get to bed until the early hours. I have packed a box with my paints in and checked the back of both Grandstand and the Approximate Odds Board to remove any dust.

Saturday 18.10.25

Richard has carefully packed the car and we set out for London about 4 o’clock, arriving at the studio/flat just before 8pm. Henrietta has opened the side gate in readiness for us so we unpack and then go round to their house for dinner. Kev had cooked a rather brilliant salmon dish with shredded courgettes and a Thai dressing with small roast potatoes, broccoli and rice. It’s a lovely evening with time to catch up. Samuel is in Leeds tonight as he’s looking at the course he wants to do next year at University. He’s staying with one of his and Isaac’s friends, Will.

Sunday 19.10.25

We go round to Henrietta’s for brunch and then Richard takes us to North Greenwich (by the Dome) from where there is a direct train to Green Park which we catch as we are going to see the Kerry James Marshall exhibition at the Royal Academy. As we walk along Piccadilly she points out the Ritz which is very close to the Portland Gallery and says that was the turning she took when she came to my exhibition. So it is very close to both the Royal Academy and Cork Street where I used to show. It is a rather picturesque walk as in the rain most people, like us, have their umbrellas up.

With my Friends card we can get in for free. Much has changed since the Iwei wei exhibition to the building structurally as it now runs through to what used to be the Museum of Mankind that I also used to take Henrietta and Nathan to when they were children.  though I did come up for an evening when the Womens Art Collection from Cambridge University was meeting in the Keepers House. We make our way up the stairs into the exhibition and it is certainly all that it proimsed to be when I heard John Wilson interviewing Kerry James Marshall on BBC 4’s This Cultural Life. The paintings are often monumental in scale and Marshall spoke about being influenced by the Veronese paintings had seen whilst still young and knew that was what he wanted to do. He even recalled that when he was kindergarten, if he had been very good the teacher would allow him to look at the scrap book in which there were photographs and greetings cards and just how inspirational he had found it and knew that was what he wanted to do. Sure enough some of these huge canvases have gold and glitter placed often around the edges or in scallops below the top portion. One magnificent canvas was inspired by his mother in law’s sitting room saying that we must remember Jack Kennedy, Robert Kennedy and Martin Luther King. His mother in law stands there elegantly in her high heels and smart dress over which has been laid a pair of gold sparkly wings like an angel. One smaller work which has the back view of two black people looking at an abstract painting and Henrietta comments that on the label it gives the names of three artists the painting could be by and one Sir Frank Bowling who she has done a lot of work with, particularly with school children in mind. One project being an educational scheme of work with Sir Frank and the Getty Museum in San Francisco. Marshall’s wonderful use of Mars and Ivory blacks rather than skin tones, adds an extra drama and boldness to the composition so the figures are silhouetted against the brightly coloured backgrounds. He makes a lot of reference to history and historical paintings. For instance distorting the figure of Thomas Jefferson to such an acute angle that he becomes almost unrecognisable. Lots of the paintings referencing families, housing & garden projects schemes that were set up with names like Better Homes Better Garden  for back American families. He addresses slavery in  the most compelling ways and also more currently black African leaders. It is one of the best exhibitions I have ever seen - astounding, monumental,

a extraordinary beautiful and so of it’s time.

Monday 20.10.25

We set off just after 12.30 for Newmarket. It’s pouring with rain again so brollies needed and visibility not so good with all the spray coming from the road and lorries. Though by the time we get to Newmarket it’s much lighter. We drive into one of the National Horse Racing Museum’s car parks but it seems to be the wrong one. As the Museum is closed on a Monday we are lucky that Richard locates the caretaker by waving to him in an upstairs window. He ‘phones Tabitha the curator and gives us directions to the right part which is at the back of the site. Richard keys in the number to the electric gates which swing open but it’s such a big complex that we take the wrong turning before getting onto the right drive and there we can see Tabitha waiting for us by a inner gate and she points the way to the well secured picture store where another woman is also waiting, both wearing blue surgical gloves for handling the paintings which they carry in. When we go inside we see a lot of very fine horse paintings. They again tell us that my paintings got a very enthusiastic response from the acquisitions committee and that the chairman said she would like the Approximate Odds building painting in her office but the curator muttered that she didn’t know if that would happen as she wanted it for display. I then sign the paperwork and off we go. From the outside this building looks like a old brick barn with its sliding wooden doors but inside are huge thick steel doors and everything felt clean, light and air conditioned.

Tuesday 21.10.25

The National Maritime Museum was brilliant. There were five of them and we sat in a circle of armchairs in reception and the head of research said she had never had such an enthusiastic response from the board as for my QE2 sailor!! They absolutely loved him. She had even done research and found him listed in a Peggy Nisbet catalogue. There was also the curator for textiles, a young woman who runs the shop and a woman from marketing, As well as Kathryn, the collections registrar who had been corresponding with me and she handled all the forms, copyright etc. They were so enthusiastic thinking of ideas to display him with a merchant navy uniform. Also having him screen printed onto tea cloth-like fabric for people to cut out and make and workshops. One woman said how good it would be to have me speaking and if possible to find one of the outworkers who used to stitch them and from the sustainability point of view how he could be stuffed with recycled fabric. It was so exciting. They loved the idea of the Peggy Nisbet company being all women, me as the designer then the women outworkers making them all up. So I couldn’t help mentioning that my daughter was lecturing at Goldsmiths on the PGCE course and Kathryn said both her parents were teachers and met while studying at Goldsmiths and that she had saved her Mum’s college scarf with Goldsmith colours (yellow and black I think) and the University of London colours on the other side. It was such a fun way to spend an hour. The reception area was beautiful with huge model ships and a view down the Inigo Jones colonnade to the Queen’s House. We were both absolutely delighted with their huge enthusiasm for this funny old sailor who has been living under a bed for the past couple of years and before that in a wardrobe over in my studio. Once I’d signed the form so that they had officially acquired it they were all very cautious about handling him and I’d also taken them pieces of flat printed cotton so that you could see him flat and only the curators were then allowed to handle and fold the items.  It was a sheer joy and delight that they held him in such esteem.

So we had big smiles on our faces all the way to St James’s and the Portland who even offered us a card if I wasn’t a friend of the RA - so that’s worth knowing if we ever get stuck. they suggested I left the painting there until we’d seen the  The Kerry James Marshall exhibition  (as Richard didn’t see it on Sunday ) so it didn’t have to be in the car. Richard loved the show every bit as much as me. I think it might have quite a profound influence on what’s happening in painting and Richard independently thought the same.

Now we’re just back home and I’ve put Henrietta’s glorious irises into the big glass vase that Kev’s parents gave them when they got married.

Wednesday 22.10.25

Coincidentally the Acquisition forms arrive in the post from Somerset for the fifteen silk screen printed soft toys including another of the sailors that have gone to Somerset County Museum. I’m really delighted as having hoarded them for all these years it makes it worth it that they are now all in museum collections, something I would never have dreamt of at the time of designing them. Somerset Museum said that Peggy Nisbett played an important part in Weston’s history. Interestingly she did ring me up after she’s got my number from Geoff’s Mum who in her retirement had a little shop quite close to the wonderful house Peggy had, with a circular tower on one corner. I think she thought I might do some more designs for her but at this stage I was working hard early in my painting career.

Thursday 23.10.25

Receive e mail from Roger of the Small Paintings Group, saying that the Trent gallery were concerned that all the works for the SPG at Trent Art had arrived but mine weren’t amongst them. So I email back explaining that one of the two paintings that I’d sent photographs of wasn’t quite finished as I had wanted to do more on it but having been so busy hadn’t had the chance until this week and I attached a photograph to show that it had progress. Roger wrote back very nicely saying he would let the gallery know and I also duly wrote to Henry explaining the dilemma and had a lovely reply back saying that he had used my other painting Come On Number 8 on the cover of the catalogue and on the invitation card and saying there was no hurry and the middle of next week would be fine. So I felt very touched and rather pleased.

Friday 24.10.25

More work on the second painting for the SPG at Trent Art in the early hours but later move to a bigger painting.

Richard’s made a little more progress on his folly/greenhouse as the weather was good.

Also had an e mail from Trev saying he’s sent a copy of his new book wearing my Leopard who’s changing his spots that he and Jill own on its cover.

Saturday 25.10.25

Continue working on the big painting, trying to resolve its composition during which whilst standing on a stool to reach the upper areas I somehow overbalance. Luckily the stool isn’t too high but I still manage to knock over the electric radiator which while I’m checking to make sure I’m still intact I notice smoke coming out of a vent at the bottom so slide over to turn it off at the plug. Richard hadn’t heard the crash as he’d walked down to shops to collect food for our supper but said when he was heading back he had a feeling that I needed protecting and that he wouldn’t be asking me to lift any of the old windows for the folly/greenhouse he’s building. I sit on the floor for a minute or two rubbing my limbs and all seem OK just that my left hand forefinger and a bump on my eyebrow from the radiator, even though it’s now off there is still smoke coming out of it so I stand up so that I can stand it up. Then go to the bathroom to survey the bump on the brow. I hear Richard and tell him the tale. I suspect I might have a black eye tomorrow and bruises on my left hand. I’m really counting my blessings it was my left hand which I can still use but not sure it would be up to vigorous brushing at the moment. R cooks me a boiled egg and tomatoes and avocado on toast then I have a Barocca and a couple of Panadol to try to reduce any inflamation. But once I’ve had the tea and counted my blessings that nothing is broken I’m back in the studio working on the large painting with even more vigour than before in gratitude for being let off lightly.  I’ve had several friends who have broken bones his year so count my blessings.

Sunday 26.10.25

Working on the big painting again today having now resolved a lot of the composition though as with my usual process there are changes I want to make.

Monday 27.10.25

Working on the small paintings to go to Trent Art for the SPG exhibition there. Richard’s made a splendid new box  for them to travel in. I give the two paintings a coat of removable matt varnish which will thoroughly dry overnight.

Tuesday 28.10.25

Richard takes the paintings down to the post for special (next day) delivery.

I’m working on Martin’s commission again, working further into the figures and the grassy areas.

Wednesday 29.10.25

Email from Henry in Trent saying the two “beautiful” paintings have arrived so Richard’s box has done its job.

Working into the Resurrection commission, trying to bring areas to life.

Thursday 30.10.25

Received a very nice e mail from Richard E who owns one of my large mixed media works and who came to my opening at the Paragon Gallery with his father. He had told me about a company he has Juro Miru, based on the Japanese philosophy of well being and good health. and in this e mail he’s asking if I might like to work with them based on the Japanese way of thinking that is similar to my own, that creating art is a form of meditation that aids well-being etc.

Friday 31.10.25

Hear from Katharina one of the Trustees of the Friends that she has now put the small painting I have donated, called The Friends on their website. She asks if Richard and I would like to go to the event next Thursday as their guests but I tell her we have already bought our tickets so we are going anyway thank you.